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Broman & Kuusisto MELLERSTA ÖSTERBOTTENS KAMMARORKESTER pe / fre 12.2.2021 klo / kl. 19.00 Snellman-sali, Kokkola / Snellmanssalen, Karleby BROMAN & KUUSISTO striimattu konsertti / streamad konsert Malin Broman, viulisti-johtaja / violinist-dirigent Pekka Kuusisto, viulu / violin 2 3 CARIN MALMLÖF-FORSSLING (1916–2005) ‘Release’ jousiorkesterille / för stråkorkester I Andante II Allegro con spirito III Adagio funèbre ROBERT KAJANUS (1856–1933) Berceuse ‘Huutolaistytön kehtolaulu’ FRITZ KREISLER (1875–1962) Viulukonsertto Vivaldin tyyliin / Violinkonsert i Vivaldis stil, C Allegro morderato e maestoso Andante doloroso Allegro assai ******* FELIX MENDELSSOHN (1809–1847) Sinfonia nro 1 / Symfoni nr 1 c, op. 11 Allegro di molto Andante Minuetto – Allegro molto – Trio Allegro con fuoco – Più stretto 3 Carin Malmlöf-Forssling: ’Release’ jousiorkesterille Pioneerien osa on usein vaikea. He joutuvat raivaamaan tiensä läpi ennakkoluulojen viidakon ja saavat arvostusta kenties vasta myöhään urallaan – jos silloinkaan. 1900- luvun ruotsalaisessa musiikissa tällainen osa lankesi Carin Malmlöf-Forsslingille, ei tyylillisistä tai yleisemmin esteet- tisistä syistä vaan suurelta osin siksi, että hän oli nainen. Malmlöf-Forssling kuului samaan sukupolveen kuin toisen maailmansodan jälkeen ruotsalaista musiikkia uudistaneen ns. maanantairyhmän jäsenet kuten Karl-Birger Blomdahl, Sven-Eric Bäck ja Ingvar Lidholm. Hän opiskeli samaan aikaan heidän kanssaan pianonsoittoa, kontrapunktia ja sävellystä Tukholman kuninkaallisessa musiikkikorkea- koulussa, mutta ryhmän jäseneksi hän ei päässyt, ja 1952 hän asettui pianonsoitonopettajaksi Faluniin. Jotain hänen säveltäjänsuuntautumisensa vakavuudesta kertoo kuiten- kin se, että hän teki 1957 opintomatkan Pariisiin aikansa kenties legendaarisimman sävellyspedagogin Nadia Bou- langerin oppilaaksi. Pianonsoitonopettajan työn rinnalla Malmlöf-Forssling sävelsi jatkuvasti ja alkoi vähitellen saada nimeä. Vuonna 1970 hänet valittiin ensimmäisenä naisena Ruotsin säveltä- jäyhdistykseen Föreningen Svenska Tonsättare. Arvostus kasvoi kuitenkin hitaasti, mikä aiheutti harmillista viivettä hänen säveltäjänuralleen; esimerkiksi ensimmäisen varsi- naisen sinfoniaorkesteriteoksensa hän pääsi säveltämään vasta lähes 70 vuoden iässä, kun Tukholman konserttitalo- säätiö tilasi teoksen Flowings (1984-85). Myöhempinä vuo- sinaan hän sai vihdoin kokea sitä huomiota, jonka hän olisi jo paljon aiemmin ansainnut. Malmlöf-Forsslingin tuotantoon sisältyy monipuolisesti kamari- ja vokaalimusiikkia sekä orkesteriteoksia. Hän sovelsi teoksissaan monenlaisia tyyliaineksia perinteisestä melodisuudesta modernistisiin elementteihin. Asuminen Falunissa sai hänet tutustumaan ympäröivän Taalainmaan paikalliseen kansanmusiikkiperinteeseen ja ammenta- maan siitäkin virikkeitä teoksiinsa. Malmlöf-Forsslingin jousiorkesteriteos Release valmistui ensin yksiosaisena 1973 Falunin konservatorion orkeste- ria varten. Sittemmin hän ryhtyi kaavailemaan sen poh- jalle laajempaa kokonaisuutta, ja vuonna 1992 hän sävelsi syvän henkilökohtaisen surun koskettamana teokseen 4 5 Adagio funebre –osan ja seuraavana vuonna vielä eloisam- man väliosan erottamaan kahta hidasta osaa. Pitkän ja monivaiheisen syntyprosessin tuloksena on kol- mesta ilmaisultaan erilaisesta mutta toisiaan tasapainotta- vasta osasta rakentuva kokonaisuus. Avausosaa hallitsee karhean riitasointinen, ekspressionististyylinen melodi- suus. Lyhyessä toisessa osassa ollaan lähempänä Ligetin sointikenttien maailmaa, kun tiiviisti kuhisevan, vailla varsi- naista temaattista sisältöä olevan soinnillisesti hahmottu- van tekstuurin ylle piirtyy lyhyitä melodiafragmentteja. Pää- tösosa on alistunutta ja koskettavaa surumusiikkia, jossa aavemaisesti leijuvat sävellinjat saavat taustakseen pizzi- catojen kulkuemaisen askelluksen. Carin Malmlöf-Forssling: ’Release’ för stråkorkester Det är ofta svårt att vara pionjär. De är ofta tvungna att bana väg genom en djungel av fördomar och får ofta upp- skattning först senare under sin karriär – om ens då. I det svenska musiklivet under 1900-talet föll denna roll på Carin Malmlöf-Forssling, inte på grund av stilistiska eller allmänt estetiska orsaker, utan främst för att hon var kvinna. Malmlöf-Forssling tillhörde samma generation som den efterkrigstida s.k. Måndagsgruppens medlemmar, såsom Karl-Birger Blomdahl, Sven-Eric Bäck och Ingvar Lid- holm. Hon studerade piano, kontrapunkt och komposition vid Kungliga musikhögskolan i Stockholm samtidigt som dem, men kom aldrig att bli medlem i gruppen, och 1952 bosatte hon sig i Falun där hon verkade som pianolärare. Om allvaret i hennes kompositionsplaner vittnar att hon år 1957 gjorde en studieresa till Paris till dåtidens kanske mest legendariska kompositionspedagog Nadia Boulanger. Malmlöf-Forssling komponerade ständigt vid sidan om pia- noundervisningen, och kom så småningom att skapa sig ett namn. År 1970 valdes hon som första kvinna in i Före- ningen Svenska Tonsättare. Uppskattningen växte ändock långsamt, vilket skapade en beklaglig fördröjning på hen- nes karriär; hon hade möjlighet att komponera sitt första egentliga verk för symfoniorkester först vid närmare 70 års ålder, då Stockholms Konserthusstiftelse beställde verket Flowings (1984-85) av henne. Under senare år kom hon att äntligen få uppleva den uppmärksamhet som hon hade förtjänat att uppleva redan mycket tidigare. 5 Malmlöf-Forsslings produktion innehåller mångsidigt med kammar- och vokalmusik samt orkesterverk. I sina verk anammade hon många olika stilingredienser från tradi- tionell melodiskhet till modernistiska element. Eftersom hon bodde i Falun kom hon att bekanta sig med Dalarnas folkmusiktradition och i sina verk använda sig av influen- ser därifrån. Malmlöf-Forsslings stråkorkesterverk Release färdigställ- des till en början som ett ensatsigt verk för orkestern vid Faluns musikkonservatorium år 1973. Därefter började hon arbeta på en större helhet med denna som grund, och år 1992 komponerade hon den djupt personliga, sorgtyngda Adagio funebre -satsen och därpåföljande år den mera liv- fulla mellansatsen att skilja de två långsamma satserna åt. Resultatet av en lång kompositionsprocess i flera faser är en helhet bestående av tre till uttrycket olika satser som ändå fungerar balanserande sinsemellan. Öppningssatsen domineras av en grov, dissonant, expressionistisk melodisk- het. I den korta andra satsen är vi närmare Ligetis klang- fältsvärld, då hon över den tätt brusande, utan egentligt tematiskt innehåll gestaltande texturen ritar korta melodi- fragment. Avslutningssatsen är resignerat berörande sor- gmusik, där spöklikt flytande melodilinjer backas upp av en processionsaktig gångrytm, bestående av pizzicaton. Robert Kajanus: Berceuse ”Huutolaistytön kehtolaulu” Robert Kajanus perusti v. 1882 Helsingin Orkesteriyhdis- tyksen, joka oli Pohjoismaiden ensimmäinen vakinainen ja täysilukuinen sinfoniaorkesteri ja josta myöhemmin tuli Helsingin kaupunginorkesteri. Kapellimestarina Kaja- nus suosi erityisesti Jean Sibeliusta. Tajuttuaan jo varhain tämän nerouden hän luopui lähes kokonaan omista sävel- täjänhaaveistaan ja omistautui Sibeliuksen musiikin tun- netuksi tekemiseen: ”Minä toimin ainoastaan taiteen issik- kana, pääasia on, että neroille on vaunut valjastettuina.” Kajanus oli kuitenkin myös itse huomionarvoinen sävel- täjä. Kajanuksen omista sävellyksistä merkittävimmät ovat Suomalaiset rapsodiat nrot 1 ja 2, sinfoninen runo Aino ja ‘Kalevala-episodi’ Kullervo sekä Sinfonietta. Ehkä useim- min Kajanuksen nimi kuitenkin liitetään Porilaisten mars- siin, jonka hän sovitti sinfoniaorkesterille. 6 7 Berceuse (Huutolaistytön kehtolaulu) on herkkätunnelmai- nen, lyyrisyydessään paikoin melkein hauras kappale, jota hallitsee ilmeikkään surumielinen viulusoolo. Robert Kajanus: Berceuse (Vaggsång) Robert Kajanus grundade år 1882 Helsingfors Orkesterfö- rening, som var den första ordinarie och fulltaliga symfoni- orkestern i Norden och som senare skulle bli Helsingfors stadsorkester. Som kapellmästare favoriserade Kaja- nus speciellt Jean Sibelius. Han förstod redan tidigt den- nes genialitet och avstod nästan helt från sina egna ton- sättardrömmar för att i stället ägna sig åt att göra Sibelius musik känd: ”Jag verkar bara som en konstens droskkusk, huvudsaken är, att vagnarna är spända för genierna.” Kajanus var dock själv en beaktansvärd kompositör. Bland Kajanus’ egna kompositioner är de mest betydande Finska rapsodierna nr 1 och 2, den symfoniska dikten Aino och ‘Kalevala-episoden’ Kullervo samt Sinfonietta. Oftast an- knyts Kajanus namn emellertid till Björneborgarnas marsch, som han arrangerade för symfoniorkester. Berceuse (Vaggsång) är ett stämningsmättat, lyriskt och ställvis nästan skört stycke, som domineras av ett expres- sivt sorgmodigt violinsolo. Fritz Kreisler: Viulukonsertto C-duuri Vivaldin tyyliin "Musiikilla on kaikki paheen ominaisuudet: sen välitön vie- hätysvoima, sen salainen hekumallisuus, sen omalaatui- nen pakkomielle itsekieltäymykseen... sen vuoksi muu- sikot ovat ainoita ihmisiä, joiden paheita kunnioitetaan, arvostetaan ja joille siitä jopa maksetaan." Tämä Fritz Kreislerin kommentti kuvastaa ilkikurisuudes- saan paitsi musiikkia myös häntä itseään muusikkona ja persoonana. Hän oli yksi aikansa loistavimmista viulis- teista, jonka soitto hehkui välitöntä viehätysvoimaa ja jolle musiikista myös maksettiin. Ja olihan hänellä musiikin alalla omat veijarimaiset paheensakin. Kreisler syntyi Wienissä, opiskeli Wienin ja Pariisin konser- vatorioissa ja suoritti loppututkintonsa vain 12-vuotiaana. Hän teki ensimmäisen Amerikan-kiertueensa
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